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Track Listings
| 1. Only Shallow |
| 2. Loomer |
| 3. Touched |
| 4. To Here Knows When |
| 5. When You Sleep |
| 6. I Only Said |
| 7. Come In Alone |
| 8. Sometimes |
| 9. Blown A Wish |
| 10. What You Want |
| 11. Soon |
Product Description
Amazon.co.uk Review
After My Bloody Valentine had undergone their massive metamorphosis from twee indie-poppers to guitar noiseniks on 1988's Isn't Anything, their eagerly anticipated follow-up was a long time coming. Rumours abounded of massive studio bills, and when the album finally arrived, it listed 18 engineering credits. At times, Loveless is 90 per cent pure studio overmatter--but that doesn't matter. Band leader Kevin Shield's element was the guitar overdub, creating an intoxicating headrush of varispeed, warped, electro-static effects. "To Here Knows When" remains unmatched as an experiment in just how much sonic dissonance a simple pop melody can bear, while Bilinda Butcher sings drowsily as if concussed by the sweet noise. Loveless isn't a case of form over content--the lyrical subject matter of dazed infatuation is perfectly illustrated by the snowblind guitar sound. After this, MBVmoved to Island and remained notoriously unproductive for years, perhaps unsure how to top this. --David Stubbs
Description
To simply call this album the apotheosis of the shoegazing scene--that brief epoch of U.K. indie-rock in which bands turned away from melodic clarity and instead chased after the incendiary rapture of sheer guitar-driven noise--would be anunderstatement. LOVELESS is the sound of what might've happened if Brian Eno had produced DAYDREAM NATION. Or perhaps it's the thundering ambience of SISTER recorded backwards. Whatever the case, rarely has such a pristine, hypnotic recordhad such an ungodly amount of sonic tonnage. Opening with four quick beats from some kind of skeletal kick-drum and then proceeding through eleven gleaming movements of titanic
After My Bloody Valentine had undergone their massive metamorphosis from twee indie-poppers to guitar noiseniks on 1988's Isn't Anything, their eagerly anticipated follow-up was a long time coming. Rumours abounded of massive studio bills, and when the album finally arrived, it listed 18 engineering credits. At times, Loveless is 90 per cent pure studio overmatter--but that doesn't matter. Band leader Kevin Shield's element was the guitar overdub, creating an intoxicating headrush of varispeed, warped, electro-static effects. "To Here Knows When" remains unmatched as an experiment in just how much sonic dissonance a simple pop melody can bear, while Bilinda Butcher sings drowsily as if concussed by the sweet noise. Loveless isn't a case of form over content--the lyrical subject matter of dazed infatuation is perfectly illustrated by the snowblind guitar sound. After this, MBVmoved to Island and remained notoriously unproductive for years, perhaps unsure how to top this. --David Stubbs
Description
To simply call this album the apotheosis of the shoegazing scene--that brief epoch of U.K. indie-rock in which bands turned away from melodic clarity and instead chased after the incendiary rapture of sheer guitar-driven noise--would be anunderstatement. LOVELESS is the sound of what might've happened if Brian Eno had produced DAYDREAM NATION. Or perhaps it's the thundering ambience of SISTER recorded backwards. Whatever the case, rarely has such a pristine, hypnotic recordhad such an ungodly amount of sonic tonnage. Opening with four quick beats from some kind of skeletal kick-drum and then proceeding through eleven gleaming movements of titanic